LEADER 03554cam 2200409 i 4500001 on1055686831 003 OCoLC 005 20200806105743.0 008 190808s2019 enkgh b 001 0deng 010 2018561410 019 1110506786 020 9781783273836 020 1783273836 035 (Sirsi) o1055686831 035 (OCoLC)1055686831 |z(OCoLC)1110506786 040 DLC |beng |erda |cDLC |dBDX |dERASA |dUKMGB |dCHVBK |dOCLCF |dYDXIT |dTDF |dUAB |dYDX |dOCLCO |dOCLCQ |dU3G |dOCLCA |dOCLCQ |dUtOrBLW 042 pcc 049 EREM 050 00 ML410.D86 |bW38 2019 082 04 780.92 |223 100 1 Watson, Laura |c(Musicologist), |eauthor. |=^A1409666 245 10 Paul Dukas : |bcomposer and critic / |cLaura Watson. 264 1 Woodbridge, Suffolk : |bThe Boydell Press, |c2019. 300 xiv, 289 pages : |bfacsimiles, music ; |c24 cm 336 text |btxt |2rdacontent 337 unmediated |bn |2rdamedia 338 volume |bnc |2rdacarrier 504 Includes bibliographical references (pages 257-276) and index. 520 As a noted composer and critic, and later an editor and composition teacher, Paul Dukas (1865-1935) was a major figure in fin-de-siecle and early twentieth-century French music. Although his catalogue of published scores was relatively modest in quantity, he was internationally recognised as an artist and intellectual of distinction who contributed significantly to Parisian musical cultures and critical debates as they evolved from the 1890s until the 1930s. Moving in the same circles as Debussy and Faure, as well as networking with trailblazers such as the Ballets Russes director Sergei Diaghilev and the conductor Serge Koussevitzky, Dukas created works that reflect French sensibilities but also resonate with transnational audiences. L'Apprenti sorcier is still his best-known work, while the opera Ariane et Barbe-Bleue has been revived and remains relevant for the twenty-first century. Works such as the Piano Sonata and the ballet La Peri respectively exemplify the twin attractions of tradition and progress for the composer. Intensely self-critical, however, he ended up destroying many of his scores. This book is the first full-length Anglophone study of Dukas. It perceives his critical essays as a form of creative, philosophical thought that synthesised the riches of the Parisian music scene yet also represented the formation and development of his own artistic voice. Investigating Dukas's interrelated identities as composer and critic, it seeks to explain his broad aesthetic motivations and artistic agenda. 505 00 |tAn intellectual and aesthetic formation: from student composer to music critic -- |tSymphony in C and discourses of the French symphony -- |tL'Apprenti sorcier and theorising a theatre of programme music -- |tPiano works in dialogue with tradition -- |tAriane et Barbe-Bleue and conceptualising opera after Wagner and Debussy -- |tDance between the symphonic poem and stage: responding to Russian influence -- |tAfter the First World War: creative renewal and return to music criticism. 600 10 Dukas, Paul, |d1865-1935 |xCriticism and interpretation. |=^A45622 650 0 Composers |zFrance |y19th century |xCriticism and interpretation. |=^A991024 650 0 Composers |zFrance |y20th century |xCriticism and interpretation. |=^A991024 994 C0 |bERE 596 3 998 5269271